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Lite snett och vint, men mycket fint ändå... (; (11 foton sammanfogade, 9000*7000px)
A bit crooked, but I still like it... (; (11 photos merged, 9000*7000px)
I liked the way the Ivy was creeping over the window .. Not sure about the reflection of the electricity pylon though.
Taken at Merton Abbey Mills.
This woman was so serene, sitting in her window watching the sun set saturday evening. She lives in a retirement home near downtown Madison. I stood down in the yard shooting her for probably 5 minutes and and was just so sweet.
Madison, Georgia. April 2006.
Well I did warn you that I’d be posting doors and windows and in this shot you get both. Never let it be said that I don’t offer good value.
This is the rather lovely Blacksmith’s Shop at Fort Nelson. It does make me wish that I was a bit better with a saw than I actually am; if I’d made this I’d be rather pleased with myself.
Windows LY
Nikon D80 18-135 . 70-300
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Yesterday, my youngest daughter, Elizabeth was married in Chester Avenue Baptist Church in Middlesboro, Ky. This window is in the back of the sanctuary. I was told the stained windows were over 150 years old and was imported from England or Italy. When the photographer was getting shots of the wedding dress, I decided to sneak in a few shots. This one was a mishap, due to my speed light failing to fire. While the shot was way underexposed to show the detail of the dress, the natural light enhanced the color of the window and left the glow coming through the dress, Instead of correcting the exposure, I decided to leave it.
Memorial window to local brewer, John Simpson and his wife, Hannah. Installed in 1929 in the church of St Thomas Becket, Chapel en le Frith, Derbyshire. The glass ( signed in the bottom right hand light but impossible to photograph from floor level) is by Archibald John Davies of Bromsgrove.
The theme is the martyrdom of St Thomas Becket, to whom the church is dedicated. Becket himself is shown in the centre light (and his face appears to be modelled on a real person). The side lights illustrate the story of his martyrdom, beginning with Henry II complaining to his knights about his, 'turbulent priest'. The knights then confront Becket in Canterbury cathedral and execute him on the spot. The fourth picture shows the repentance and penance of the king.
The emblems at the base of the centre light include a beehive, a reminder that John Simpson was an enthusiastic beekeeper.
Golden window of opportunity? I saw the sunrising through one of our office building's hallway windows this morning and had to run for my camera.
St Martin's Church, Chur. Augusto Giacometti created the stained glass windows in 1919.
Chiesa di San Martino, Chur. Augusto Giacometti creò le vetrate nel 1919.
St. Martin's Kirche, Chur. Augusto Giacometti schuf die Glasfenster im Jahre 1919.
Stained Glass Windows by Augusto Giacometti
The glass paintings on the south side of the main nave are by Augusto Giacometti. The selection of the theme - the nativity story - can not be found in the documents; It must have been defined before. The paintings were executed by the glass painter Oskar Berbig from Zurich and were completed on 14 April 1914. They were installed from 12 to 17 May and on 25 May the inauguration of the renovated church took place. In the center is the Christ Child in the stable, revered by Mary and Joseph and two angels. On the right, the three kings open themselves up to worship, on the left the shepherds in the fields.
The paintings by Augusto Giacometti in the Churer Martinskirche are the first of his work and he founded his reputation as some one who revived glass painting.
Glasgemälde von Augusto Giacometti
Die Glasgemälde an der Südseite des Hauptschiffs stammen von Augusto Giacometti. Über die Wahl des Themas – die Weihnachtsgeschichte – findet sich in den Unterlagen keinerlei Hinweise; es muss also schon vorher festgelegt worden sein. Die Gemälde wurden von der Glasmalerei Oskar Berbig aus Zürich ausgeführt und waren am 14. April 1914 vollendet. Vom 12. bis 17. Mai wurden sie eingebaut, am 25. Mai fand die Einweihungsfeier der renovierten Kirche statt. Abgebildet ist in der Mitte das Christkind im Stall, verehrt von Maria und Joseph und zwei Engeln. Rechts machen sich die drei Könige zur Anbetung auf, links die Hirten auf dem Feld.
Die Gemälde von Augusto Giacometti in der Churer Martinskirche sind die ersten seines Schaffens und begründeten seinen Ruf als Erneuerer der Glasmalerei.
Finestre di Augusto Giacometti
I dipinti di vetro sul lato sud della navata centrale sono di Augusto Giacometti. La scelta del tema - la storia della Natività - non può essere trovato nei documenti; Deve essere stato definito in precedenza. I dipinti furono eseguiti dal pittore di vetro Oskar Berbig da Zurigo e sono stati completati il ​​14 aprile 1914. Sono stati installati dal 12 al 17 maggio e il 25 maggio l'inaugurazione della chiesa rinnovata ha avuto luogo. Nel centro è il Bambino Gesù nella stalla, venerato da Maria e Giuseppe e due angeli. Sulla destra, i tre re aprirsi al culto, sulla sinistra i pastori nei campi.
I dipinti di Augusto Giacometti nel Martin Chiesa di Coira sono la prime del suo lavoro e ha fondato la sua reputazione come un rinnovatore della pittura su vetro.
This photo has been published in the book xgray vision 2008, which is available for purchase through my my online bookstore at blurb.com.
St Peter, Nowton, Suffolk
Nave, north aisle windows. Continental and English glass, 16th and 19th Century.
To stand at Nowton church, or the almshouses where the friendly keyholder is, you would not think that we could be so close to Bury St Edmunds. Here, in rolling west Suffolk, woods and copses hide the next parish in any direction, creating an intimacy that is not belied by the occasional hazy distant view from a ridge or hilltop. Nowton church sits on one particular hill, a long track leading up from the nearest road into the silence of its tree-shrouded churchyard, an oasis of lush botanical green in the agricultural expanses.
A mile or so off in the Bury suburbs is Nowton Country Park, one of the main recreational areas of the town, and the former grounds of Nowton Hall. The Hall was the home of the fabulously wealthy Oakes family, and in 1811 Elizabeth Frances Oakes, wife of Orbell Ray Oakes and Lady of the Manor, died at the age of 42. She was buried in Nowton church, which must have been a very plain and ramshackle structure in those Georgian days. However, over the next ten years something extraordinary happened here, as we will see.
Essentially, the church in which Elizabeth Oakes was buried was a 14th century building with surviving Norman details, before the Victorians went to work on it. Walking around it, the graveyard is a strikingly beautiful adornment, still with an air of the early 19th century, with the kind of trees that Lords of the Manor and Rectors-of-leisure liked to plant in those days, including a glorious cedar. Stepping inside, this is a pleasant, shipshape little church. All around are memorials to the Oakes family in the 19th and 20th Centuries, but it probably won't be them that catches your eye, because Nowton is home to one of the largest and best collection of continental glass in England.
Not far from Nowton is Rushbrooke, which in the early 19th Century was the home of the eccentric Colonel Rushbrooke, an avid antiquarian and carpenter who I am afraid was not above the odd spot of forgery. He refurnished Rushbrooke church in the manner of the Cambridge college chapel of his youth, giving it a Henry VIII royal arms into the bargain. Items that he collected can be found in several churches in the eastern counties, for Colonel Rushbrooke spent many happy months in the first decade of the 19th century trawling around the Low Countries and buying up wooden panels and painted glass from monasteries. Many of these monasteries had been closed and ruined in the aftermath of the French Revolution and the following Napoleonic Wars, and their treasures were easily acquired for the right price.
At this time, Orbell Ray Oakes was struggling with a way to make Nowton church into a more fitting and beautiful last resting place for his wife. His solution was to purchase perhaps as many as eighty continental panels from Rushbrooke. They were installed between about 1816 and 1820 by the Norwich stained glass artist Samuel Yarington, who was an expert in these matters, working with the Norwich antiquities dealer Christopher Hampp to supply and install continental glass, mostly depicting scriptural and allegorical subjects, to English churches, mainly in the Norwich area. In those days before the great revival of church art later in the century, most English churches were very plain, especially in puritan East Anglia, and in any case coloured glass of English manufacture was not easily come by. The installation of panels of continental glass would be an easy solution, and even a few panels would be an adornment to a simple church. The Nowton scheme, of course, goes much further than this.
The panels are to be found in every window except the west window. The panels in the east window are set in nine groups of five, the larger panel in the centre of each group and four smaller panels orbiting around it in a sea of Yarington's patterned glass. There is no obvious sequential order or theological structure, and so it must be assumed that Oakes' intention was purely decorative, to beautiful his wife's last resting place. The panels were reordered on two occasions later in the century as Nowton church was restored and extended, but the original configuration of the east window in particular was not altered much. There are slightly odd panels depicting knights on brasses by John Sell Cotman set at the base of someof the aisle windows. When the glass was restored in 1970, some panels from the demolished Dagnams Hall in Essex were added at the bottom of the east window to replace glass of Yarington's that had perished.
At the west end of the south aisle is the elegant memorial to Elizabeth Oakes by John Bacon Jr. It shows her praying against an angled tombchest on the other side of which are a cross and an open book reading Thy Will Be Done. Under the tower, a brass plaque tells us that this church was embellished & decorated with painted glass collected from the Monasteries at Brussels, an Organ erected with a Peal of Six Bells, at the Expense & Gift of Orbell Ray Oakes Esq. The inhabitants inscribe this tablet as a memorial of his liberality, 1820.
Orbell Ray Oakes died in 1837 as the Victorian era began, and his son Henry James Oakes, the new Lord of the Manor, bankrolled a considerable restoration of the church under the architect Anthony Salvin. The construction of a neo-Norman north aisle necessitated the moving of some of the panels, and possibly the acquisition of some more. The nave and chancel were essentially rebuilt and the building was reroofed. The elegant remains of the medieval screen were retained, and all in all this must have been a very shipshape little building by the end of the 1870s. The Oakes family continued to live in the parish at Nowton Court, built in the 1830s. In the 20th Century, Nowton Park was acquired by St Edmundsbury District Council. The last of the Oakes family is still alive today, in her nineties, but after her the dynasty will be no more.
Around the walls of the church, memorials recall members of the Oakes family, some dying out in the Empire, some of the younger ones falling on the battlefields of France in the First World War. But having said all this, I do think this building escapes being merely a mausoleum to the Oakes family. Perhaps it is the simplicity of their memorials, or the sense of life in the building, despite its remoteness. Even so, the overwhelming feeling is of the century that rebuilt it and adorned it, which is just as it should be.